Retouching 'Colour music'

Cracks in 'Jealousy' needing repair

Treating a Toulouse-Lautrec poster

Restoring 'The flood in the Darling'

Repairing the frame for 'The defence of Rorke’s Drift'

Restoring 'Vive L’Empereur'

'Milford Sound, New Zealand' frame during laser cleaning

'The boar hunt' before and after treatment


Support conservation programs, research and projects by joining the Conservation Benefactors

The Conservation Benefactors raises funds for research and conservation projects on the Gallery’s collection and the purchase of new conservation equipment that we could not otherwise undertake or afford.

In addition to the acknowledgements extended to all Foundation members, you’ll be invited to three to four fundraising events a year held by Conservation Benefactors, such as private and corporate collection viewings and exhibition-related events at the Gallery.


Recent conservation projects funded through the Foundation include:

  • treatment of the ornate original gilded frame for WC Piguenit’s The upper Nepean 1889 and, before that, Alphonse de Neuville’s painting The defence of Rorke’s Drift 1879
  • major treatment of Colour music c1934 by Roy de Maistre and six Henri de Toulouse-Lautrec posters
  • restoration and return to display of the largest painting in the collection, Edouard Detaille’s Vive L’Empereur 1891
  • purchase of the latest equipment for analysis and treatment of the collection – a digital x-raying instrument, a handheld x-ray fluorescence spectrometer and laser cleaning system
  • support for a three-year scientific postgraduate position within the Conservation Department researching the use of enamel house paint by Sidney Nolan in partnership with an Australian Research Council project ‘The twentieth century in paint’

Corporate support

Corporate sponsors also support conservation projects such as:

  • Bank of America Merrill Lynch Art Conservation Project – conservation treatment of WC Piguenit’s The flood in the Darling 1890 1895, which needed cleaning and repairs to the canvas, and a major restoration of the frame
  • BNP Paribas Bank – treatment of Frans Snyders’ The boar hunt c1650s and its frame, which uncovered the original 17th-century composition under an early restoration
  • Hyperion Asset Management – conservation treatment of the William Strutt painting David’s first victory 1868, which had been diminished by aged varnish, and the making of a new reproduction frame

Give your support

Contact the Foundation for more information – or join and pay now, either online or download a form (right).